CASCADES - 「ジャズ的なるもの」からブリティッシュ・ロックへの回顧 106
VANITY RECORDS
●TOLERANCE
● MUSIC / PESSIMIST - UNABLE MIRROR- MR, ADODE CATHODE - KIIRO RADICAL - TOKYO - DAILY EXPRESSION - PLAZMA MUSIC - NOSE - NEW YORK - ARBEIT - ISOLATION - NECTER LOW
●VANITY TAPES / SALARIED MAN CLUB - KIILO RADICAL - DEN SEI KWAN - INVIVO - WIRELESS SIGHT - NISHIMURA ALIMOTI
●NORMAL BRAIN ●R.N.A. ORGANISM ●SYMPATHY NERVOUS
●MAD TEA - PARTY - PERFECT MOTHER - BGM
●AUNT SALLY - AGATA MORIO ●SAB - DADA
VANITY RECORDS
イギリスでのインディペンデント・レコードの始まりは、'72年に起業家リチャード・ブランソン ( Richard Branson, ) とSimon Drape、Nik Powell によって設立されたヴァージン ( Virgin ) レコードだった。'73年に発売された
VARIOUS - PESSIMIST, UNABLE MIRROR, MR, ADODE CATHODE, KIIRO RADICAL, TOKYO, DAILY EXPRESSION, PLAZMA MUSIC, NOSE, NEW YORK, ARBEIT, ISOLATION, NECTER LOW / MUSIC ( VANITY 0010 -0011 )
マイク・オールドフィールドの " チューブラー・ベルズ " からドイツのファウストなどのクラウトロックや、傘下のキャロライン・レコード ( '73-'77年 ) の黎明期の'76
年の夏に、ボクは " rock magazine " の取材で、ロンドンのノッティング・ヒル・ゲイトにあった倉庫のようなヴァージンのオフィスを訪ねて若かりし頃のブライソンにも挨拶し、スタッフから大量のサンプル・レコードなどやミュージシャンの資料なども頂いた懐かしい思い出がある。当時ヴァージンは、'76年のセックスピストルズを皮切りに、'78年にはニューヨークのヴァージン・アメリカを設立し、後に80年代のヴァージン・グループやヴァージン・アトランティックへ繋がる大手のレコード会社へと変貌しようとしていた頃で、活気に溢れていた。ボクがヴァニティ・レコードを'78年に設立したのは、ニッポンでの先駆的なミュージシャンがボクの周囲に集まり始め、彼らの背中を押してあげたかったことと、起業家としての志しこそなかったが、なによりもこのヴァージン・レコードの初期の音楽に感化されてのことで、だった。最初はプログレッシヴ・ロックとしてのDadaとSab、パンクやニューウェイヴのRNAオーガニズム、Aunt Sally、あがた森魚、BGM、パーフェクト・マザー、マッド・ティー・パーティ。エレクトロニックのシンパシー・ナーヴァス。現代音楽とポストモダン・ミュージックとしてのトレーランスとノーマル・ブレイン、各地からボク宛に送られてきた匿名のカセットテープをスタジオでリミックスし直しコンパイルしたエレクトロニック、ノイズ系のエクスペリメンタル・ミュージック " Music " と、" Wark On The Plan-Vanity Tapes " など15作品をリリースした。300枚から500枚限定で、すべて売れても赤字覚悟の金のかかった遊びでもあった。これまでにイギリスやニッポンのディス
トリビューターから再発のオファーは引っ切りなしにあったものの ( あがた森魚だけはアーティスト側の要望が強く正規に2度再発し、アウント・サリーやトレーランスはボクの許可なく無断で不正規にリリースされるという嫌な事件も起きたが ) 、レコードに収録された音楽とは、その時代背景から生まれるリアルで旬なものだというボクの考えから、すべてお断りしていた。こうして自分のプロデュースした作品を再び聴き直してみて、手前味噌だが、多くが時間の経過のなかでも色褪せていない普遍的な音楽が収録されているものもあり、そろそろこのなかの数枚を再発するには、いい時期かもと考えている。イギリスを核にした洋楽は、70年代中期のパンクが表出するまでは、すべてユニバーサルミュージック、ソニーBMG、ワーナー・ミュージック、EMIなどの大手レコード会社が輩出する産業音楽でもあった。それらの多くはコマーシャリズムのベルトコンベア上に乗せられた、作品の質やアーティスト側に立った創造からはほど遠く、すべてが作られた虚像ともいえるもので、売れれば勝ちというコマーシャリズムによって占領されていた。'72年のヴァージン・レコードを発端とし、'76年のニューヨークのパンク・ムーヴメント以後は、レコード産業のそうした思惑に左右されないミュージシャンが自ら自主制作するインディペンデント・レコードの時代が始まり、大手のレコード会社の時代は終わり、すべてがインディペンデントから輩出された音楽が占領してしまった。それらは、パンクからニューウェイヴ、インダストリアル、ノイズ、エレクトロニック、クラブミュージックへと流れ続けていき、ロックの文脈でのインディペンデント・レーベルも70年代のヴァージンから80年代のミュート、4AD、ラフトレイド、チェリー・レッド、インダストリアル、Yレコード、ON-Uサウンド、ファクトリー、クレプスキュールなどが最盛期で、それらを超えるレーベルは現在まで表出していない。よくよく考えれば、インディペンデントがもたらしたものは、コマーシャルな流通システムに乗らない尖鋭的な音楽を発掘し、音楽を産業音楽からミュージシャンのものへと取り戻した功績もあるが、現在のように、誰もがレコードやCDを作れることで作品そのものの質の低下と、過剰すぎる商品による情報の混乱をも同時にもたらした。それこそが音楽業界と洋楽が衰退していった最も大きな原因で、パラドキシカルな現象だったとも言えるのだ。インディペンデント・レーベルもまた80年代でその本質的な使命と役割を終えたと言えるだろう。ヴァニティ・レコードは、現在ではニッポンよりもイギリスやドイツ、ヨーロッパのレコードマニアに人気があり、再発の要望が強い。さて、自分のプロデュースした作品を評するのは気がひけるので、ヴァニティ・レコードの作品に関してはネット上での海外や国内のリスナーの評価をそのまま転載しておきます。
VARIOUS - PESSIMIST, UNABLE MIRROR, MR, ADODE CATHODE, KIIRO RADICAL, TOKYO, DAILY EXPRESSION, PLAZMA MUSIC, NOSE, NEW YORK, ARBEIT, ISOLATION, NECTER LOW / MUSIC ( VANITY 0010 - 0011 )
A: 1 Pessimist - Sattyuzai
2. Un Able Mirror - Hischool Pigs
3. Ignorant Animal - -
4. Mr - 213
5. Adode/ Cathode - ..Of The Passive Voice Through The Light
B: 1. Kiiro Radical - Denki Noise Dance
2. 3 38 2 48 2 18
3. Tokyo - Cassette Tape
C: 1. Daily Expression - Inka Sanka
2. Plazma Music - Green Brain
3. Noise - Dolby Nr On
4. New York1976
D: 1. Arbeit - Bundes Nachrichten Dienst
2. Isolation - Invivo
3. Necter Low - Artificial One
compiled and edited, produced by AGI Yuzuru
VANITY RECORDS 1981
VARIOUS / WARK ON A PLAN 1981 - VANITY TAPES ( VAT1-VAT6 )
SALARIED MAN CLUB - KIILO RADICAL - DEN SEI KWAN - INVIVO - WIRELESS SIGHT - NISHIMURA ALIMOTI
SALARIED MAN CLUB / GRAY CROSS ( VAT 1)
A: Martial Music - Fe. - The Thought Of Y - Cinerama
B: Gray Cross
recorded at Kyoto 1980-81
by Y. Murai, H. Kojima, T. Sugie
edited and compiled by AGI Yuzuru
VANITY RECORDS 1981
KIILO RADICAL / DENKI NOISE DANCE ( VAT 2 )
A: DEnki Noise Dance
B: Denki Noise Dance
recorded at Tottoli 1981
by Mochida Masaaki
edited and compiled by AGI Yuzuru
VANITY RECORDS 1981
DEN SEI KWAN / POCKET PLANETARIA ( VAT 3 )
A: Transparent Radio - P×T×C=1 - Thugu-Rikwo
B: Sarava Tetsudo - Pocket Planetaria - Plastic Garden
by Toumei Tusg¥hin, Sarava Tushin
edited and compiled by AGI Yuzuru
VANITY RECORDS 1981
INVIVO / B.B.B. ( VAT 4 )
A: Invivo / B.B.B. Micoplasm ( 1983 ) - I.D.50 - M.I.C.
Macrolide ( C H NO ) Bacteroides
B: Invitro / Proteus Amoxicillin - Klebsiella - Micoplasma ( 1979 )
Dead World ( LC M )
recorded at Zushi 1980 Room of Satin
edited and compiled by AGI Yuzuru
VANITY RECORDS 1981
WIRELESS SIGHT / ENDLESS DARK DREAM ( VAT 5 )
A: Automatic Funny Sight
B: Endless Dark Dream
recorded at Tokyo
by Kunio Wakae
edited and compiled by AGI Yuzuru
VANITY RECORDS 1981
NISHIMURA ALIMOTI / SHIBOU ( VAT 6 )
A: Bunbunbae - Hyojyo no Uta - Inkasanka - Lock and Role - -†
B: Yasai ga Kirai - Ninshiki Yoso -Moeagaru Chukinto - Nakayubi Tomare - Reito Shokki - Tori ga Tonda Rarara - Zesshyo
recorded at Tokyo
by Arimochi Nishimura
edited and compiled by AGI Yuzuru
VANITY RECORDS 1981
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TOLERANCE / ANONYM ( VANITY 004 )
A: Two Owls
I Wanna be a Homicide
Osteo-Tomy
JUIN - Renee
Anonym
b: Iaughin in the Shadows
Through the Glass
Tecno-Room
Voyage au Bout de la Nuit
personnel
synthesizer with electronic echo unit,
piano & voice: Junko Tange
effective guitar: Masami Yoshikawa
dedicated to the Quiet Men from a Tiny Girl
recorded & mixed at Studio Sounds Creation osaka April 1979
engineered by Naoki Oku
assistant engineered by Yoshiteru Mimura
cover photo by Toshimi Kamiya
produced by Yuzuru Agi
Vanity records
502 Soraru-Kiyoka 1-6-8 Shinmachi Nishiku Osaka phone 06 538 3644
VANITY RECORDS 1979
ANOTHER WORLD OF SOUND:
Tolerance were a mysterious Japanese duo consisting of Junko Tange on voice, synth, and piano and Masami Yoshikawa on guitar. There's a good chance both performed on other electronics too. For this, their first LP, Tolerance created an absolute masterpiece of minimal electronic atmospherics. The guitars alone cover a large variety of styles, ranging from gentle sliding to folky noodling to full-on skronk. The accompanying sounds also manage to cover quite a range, while all being decidedly experimental. Spoken female vocals (which seem to be in French!) mix in effortlessly with strange electronic rhythms and gentle Satie-esque piano, creating a unique sound. The electronics used truly aren't easy to identify, and may even be homemade. Each track is excellent, and they have some truly odd and interesting names. "I Wanna Be A Homicide", "Laughin In The Shadows", "Tecno-Room"..... really, the song titles alone should tell you this is great! This could even be considered Japan's krautrock album! Loose comparisons to such other visionaries as the Sperm and Moolah can be made, and this definitely holds a place as one of those truly unusual albums that every serious avant-gardist should hear. They went on to record another album, DIVIN, which is almost as good. Sadly, neither is available currently (there was a grey-area vinyl of DIVIN a few years back), and both are in sore need of a reissue.
http://anotherworldofsound.blogspot.com/2009/08/tolerance-anonym.html
WFMU's BEWARE:
of the Blog: Their only other LP, Divin, has already been posted in several places, including Mutant Sounds, so here's their first one only.
That leaves only their one sided 7" "Today's Thrill" (also Vanity Records) being the only unavailable recording from their discography, which seems to be just about as rare as this one.
Anyway, this is a great improv/minimal electornics/proto-techno album, and one of the best from the NWW List. Hear it for yourself:
http://direct-waves.blogspot.com/2007/02/tolerance-anonym-1980-japan-vanity-nww.html
http://blog.wfmu.org/freeform/2008/01/tolerance---ano.html
NURSE WITH WOUND LIST:
When I first listened to this I was under the impression this was recorded after the Tolerance album Divin (which can be found here). It seems like an easy enough mistake to me because Anonym appears to be more interesting, and generally seems to have more going on. Divin was mostly made up of weird lo-fi electronics. However, Anonym has that, and (what sounds like) vocal samples, and most interestingly of all, piano. It also has a more mysterious and eerie slant. An overall excellent NWW list entry. Highly recommended.
ELBOWS:
Two weeks ago I posted part 3 of the hippie noise MP3 identification contest , and I am sorry to say that nobody won the big prize. It is now time to give away the solution. The band was a duo from Japan called Tolerance , and the track was Voyage au bout de la nuit from their first LP Anonym , recorded in 1979, released 1980 on Vanity Records. This album has been posted in an incomplete version on the (excellent) Direct Waves blog , so I thought it would be a good [...]
http://elbo.ws/artist/tolerance/
TOLERANCE / DIVIN ( VANITY 0012 )
Pulse Static *Tranqillia
1/F゜ユラギ
**Gig's Tapes In"C"
Sound Round Ice Is □□■
Dice Is *□*
Nice Perfum
Voice Preserve
Gate To The Ray
Sound Round Surround +++-
Boku Wa Zurui Robot
*Stolen From Kad□
With His Skillful Hands
It Lose □□ Control
Sacrifice
Motor Fan
Tiez Rekcuz
Miez Rekcuz
Mit Ihn * Tra□□ Control Tra □□ Umen ***
recorded 30/12 /80
2,5,6/1 /81
mixed 8,9,12/1
mixer: Cimei-Bushman 19Ylam
luminal: j-Tange
input: M-Yoshikawa
, Hypersp+
cover concepts: Fusifix, Gekko-U4
produced by AGI Yuzuru
VANITY RECORDS 1981
森と記録の音楽：
阿木譲氏が主宰したマイナー・レーベルVanity Recordsより1981年にリリースされていた、丹下順子、吉川マサミからなるToleranceの2nd LP [Divin]。今やコレクター・アイテムとなっている激レア盤ですが、本作はレーベル等、詳細が全く不明な謎のリイシュー盤。全8トラックを収録していますが、殆どのトラックが図太いアナログ質のリズムとシンセで構成されており、現代のミニマル・ダブやブレイク・ビーツを感じるようなものもあれば、電子音楽マニアをくすぐるような音響トラックや、美しいアンビエント・トラックがあったりと、正に驚くべき内容の作品で、とにかく言葉にする事が不可能な程メチャクチャかっこいいです！！オリジナルの現物を見た事が無いので分かりませんが、恐らくオリジナル盤を忠実に再現したジャケとなっておりインサートが付属。とにかくあらゆる方に聴いて頂きたい傑作盤。
http://doroskedeho.blogspot.com/2007/10/013-tolerance-divin.html
MODISTI:
Tolerance, the duo of Junko Tange and Masami Yoshikawa, was the only group to release two records on the label, of which 1981’s Divin was the second. Divin is a particularly portentous recording, with minimal, bumping electronics propelled by legions of robot drum machines and draped in gauzy ghost shapes. The result is an austere electro-hybrid that fully anticipates much of the minimal electronic threat currently stoking so many boilers. But what really makes Divin stand out from a thousand animated circuit boards is its odd recording quality. The whole thing feels like its broadcast through a thick greyscale fug, the same kind of muzzy distance that that makes the weakest of shortwave broadcasts seem so hopelessly forlorn. Rumour has it that Agi was also the man behind the legendary Voice records, who issued the ultra mysterious Brast Burn and Karuna Khyal records that turned up on the Nurse With Wound list alongside Tolerance themselves and were later reissued by Paradigm. So call Divin another thrilling piece in the puzzle. Highly recommended.
http://modisti.com/musicbox/?p=915
NURSE WITH WOUND LIST:
vin by Tolerance seems to me like an electronic equivalent of Nurse With Wound (albeit not quite as crazed and abrasive). Divin is different from any electronic music that I heard previously. Instead of using the same bland electronics used by every other band, it employs the most archaic and lo-fi equipment imaginable. However, this most definitely works out in their favor, because they created what seems to me to be the most atmospheric and dark music of its kind. It is very obvious why they are on the NWW list. This is electronic music for people who hate electronic music. Click the weird album art above for a download.
http://nursewithwoundlist.blogspot.com/2009/04/tolerance-divin.html
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Dave Knapik - Tag Archive for 'electronic' - Vanity Records
“Vanity Records in Osaka was one of the unforgettable hallmarks of the early Japanese underground music scene of the late-70’s. This label was founded by Yuzuru Agi, the music critic/editor of ROCK MAGAZINE. Agi was a sort of alternative visionary with a superb talent to assess
new musical modes at a time when blues and West Coast-style rock still dominated the local music scene. He was also responsible for cloning the Japlish term “techno-pop” – which he used to describe Eno-produced bands like Talking Heads and DEVO – that later became internationally known via Yellow Magic Orchestra. Inspired by punk and the flood of indie labels that swept New York and London, Agi started Vanity Records in 1978, releasing 11 LPs, 3 singles, 12 flexis, and 6 cassettes between ‘78 and ‘82 (each release limited to 300-500 copies).”
- Satoru Higashiseto from Music No. 2, 1998.
If you’ve ever extensively scoured the outer limits of a musical genre, then you understand the fear that one day you’ll run out of new discoveries from your chosen obsession. Long ago I thought I’d reached that point with late 70s / early 80s electronic music and post-punk, but thanks to a handful of brilliant blogs, I was recently proven wrong.
Every single track I’ve heard on Vanity Records is fantastic, which is more than I can say about even Factory or Rough Trade. Minimal, electronic and anxious, the closest contemporary of theirs that I can think of would be Germany’s Ata Tak, although Vanity’s releases feel colder and more alien than that. Had Raster-Noton existed in 1980, this might be what they would have sounded like. It’s a tragedy that no current label has begun a proper reissue campaign covering all of their releases, but thankfully some dedicated individuals have made vinyl and cassette rips available.
Since I had to spend several hours tracking each of these albums down across several sites, I thought it would be helpful to assemble a master list here for anyone looking to explore this remarkable label’s discography. I’ve refrained from posting the direct Rapidshare/Mediafire/etc links and instead direct you to the original posts, because each of these blogs deserves your time and, after this, I’m sure you’ll count yourself among their regular readers.
I haven’t found any of the flexis, but you’ll find links to the 11 LPs, 3 singles and 6 cassettes below, which will keep you busy for quite some time. If I find the flexis, I’ll update this post with links, but if you find them first, please tell me in the comments. I’ve also included links to a few records that weren’t on Vanity, but are related enough to deserve your attention.
Please note that I didn’t write the descriptions below, rather they were taken from Satoru Higashiseto’s feature in Music No. 2. I found them in the comments of Mutant Sounds‘ post on the Aunt Sally LP, and I’m not even familiar with the original magazine they were found in. If you have a copy or can point me to some further information about it, I’d love to check it out.
LPs
DADA: JYO (Vanity 0001/LP/1978) Drawing inspiration from German electronic music, Fripp & Eno and Heldon, Dada (Kenji Konishi and Mutsuhiko Izumi) infused synth and guitar driven sounds with gagaku-inspired drones to achieve a sort of Oriental lyricism. The band subsequently released the album DADA (King ‘81) before splitting. Meanwhile, Konishi formed 4D, shifting his direction towards techno dance music, while Izumi joined the jazz-rock group Kennedy, and later After Dinner.
SAB: CRYSTALIZATION (Vanity 0002/LP/1978) A 19-year-old Sab produced this spacey-electronic music almost entirely by himself using multiple recoring and such instruments as guitar, synth, and various electronics. Here, Sab creates crystal-clear electronic music comparable to Magical Power Mako, Kitaro, and the Sky label. Pre-new age music. Since this talented musician went to India, nobody has known his whereabouts.
AUNT SALLY: AUNT SALLY (Vanity 0003/LP/1979) Aunt Sally’s debut album incorporates waltz and tango into rock, evocative of pre-war European nostalgia with excellent literary lyrics. This high school band consisting of three girls and two boys had an idiosyncratic presence in the local Osaka punk/new wave scene. After the band’s brief existence, the vocalist Phew went solo and released several albums including: PHEW (Pass ‘81), OUR LIKENESS (Mute ‘92), BLIND LIGHT/ABSENCE OF TIME (Alida ‘94).
TOLERANCE: ANONYM (Vanity 0004/LP/1979) The sound of this artist duo (Junko Tange and Masami Yoshikawa) from Tokyo was abstract and monolithic, using electronics, guitar, piano, and vocal. Nurse With Wound supposedly took the phrase, “To The Quiet Men From A Tiny Girl,” from this album sleeve for the title of their second album.
MORIO AGATA: NORIMONO ZUKAN (Vanity 0005/LP/1980) Morio Agata is a folk-rock singer, known for his “Red Elegy” which became a huge hit in 1972. Joined by various musicians – including Phew, Yukio Fujimoto, Jun Kitada (Inu), Taiqui (Ultrabide/pre-Hijokaidan), and Chic [Chie] Mukai – Agata produced electro-pop music fused with his unique song world. Low-tech, yet experimental, this musical project was sort of similar to Neil Young’s TRANS. Agata is now active as a film director and actor, as well as a musician. Takehisa Kosugi played violin for his album EL JAGUAR DEL BANDONEON.
RNA ORGANISM: R.N.A.O Meet P.O.P.O (Vanity 0006/LP/1980) Receiving a cassette tape from RNA Organism by air-mail, Agi mistakenly thought that they were from overseas and highly acclaimed the band in ROCK MAGAZINE; however, it was a clever ploy from by Kaoru Sato from Kyoto. This album is amazing dub music with funky bass, noise guitar, trumpet and rhythm machine – sort of like a heavier version of Andy Partridge’s TAKE AWAY. Subsequently the group changed its name to EP-4, which became known for its guerilla live performances as well as simultaneously releasing its debut album from both major and indie labels. Meanwhile, Sato disappeared from the music scene in the mid-1980s.
SYMPATHY NERVOUS: SYMPATHY NERVOUS (Vanity 0007/LP/1980) Using a self-designed computer system called “Universal Character Generator,” Sympathy Nervous produced an interesting fusion of industrial noise and dance music. The music sounded low-tech, but it was full of interesting ideas and imagination. Analogous to Daniel Miller’s Normal and Thomas Leer & Robert Rental, Sympathy Nervous was prototypical of “bedroom techno.” Along with the techno upsurge of the 1990s, they reentered the music scene, releasing their music from the Belgian KK label.
B.G.M: BACK GROUND MUSIC (Vanity 0008/LP/1980) Similar to ESG and Liquid Liquid this high school band played new wave garage funk. As with Sympathy Nervous, the leader of the band Takayuki Shiraishi reappeared to the techno scene of the 90s under the name of Planetroid, releasing Detroit techno influenced works.
NORMAL BRAIN: LADY MADE (Vanity 0009/LP/1980) Normal Brain was a project of Yukio Fujimoto, using electronic gadgets like analog-synth, rhythm machine, and Speak & Spell. His music was intelligent and witty, traversing the fine line between modern art and pop. Fujimoto’s minimalist approach also had a child-like playfulness and elegance, conceptually paralleling the music of early-Kraftwerk or Eno. Currently, Fujimoto is active as sound artist, producing sound objects and installations.
VARIOUS ARTISTS: MUSIC (Vanity 0010-11/2LP/1981) This box set includes a two LP compilation of various home-recorded materials, in addition to a postcard and numbered armband. It features 13 groups – Pessimist, Unable Mirror, MR, Anode/Cathode, Kiiro Radical, Tokyo, Daily Expression, Plasma Music, Nose, New York, Arbeit, Isolation, Nectar Low – that were totally anonymous and obscure. Most of the selections are low-fi electronic music with lots of interesting ideas, which are quite entertaining as well.
TOLERANCE: DIVINE (Vanity 0012/LP/1981) Tolerance, the only band that released a second album from Vanity, continued the musical explorations of their debut album on DIVINE. Driven by their uniquely female sensibilities, they produced an interestingly mysterious sound. Soon thereafter, Tolerance/Junko Tange disappeared from the scene. Incidentally, Agi picked this album as his favorite from the label.
http://www.daveknapik.com/tag/electronic/
[radiodAze]ヴァニティ・レコード[vanity records]
『ROCK MAGAZINE』編集長の阿木譲により1978年春に設立されたレーベル。
http://www.geocities.co.jp/radiodaze76/inds0vanity.htm
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NORMAL BRAIN / READY MADE ( VANITY 009 )
A: 1. M-U-S-I-C
speak & spell texts instrument vocal
dr. rhythm Roland drums
vocoder plus Roland keyboard
2. Frottage " One Way "
TV program vocal
dr. rhythm Roland drums
MS-20 Korg bass
3. Thrift
cassette tape english words vocal
dr. rhythm Roland drums
KE-300 Kawai key board
4. You Are Busy, I Am Easy
speak & spell texas instrument vocal
dr. rhythm Roland drums
TV program back tone
MS-20 Korg back tone
5. Tomorrownever Knows
Ayumi Torii vocal
dr. rhythm Roland drums
MS-20 Korg bass
Satoshi Shimura prepared piano
Junks percussion
( words and music by Jhon Lennon & Paul McCartney )
B: 1. Mist
YC-20 Yamaha
MS-20 Korg
2. Words
" m-u-s-i-c music .... " - from music
" u-r-v-z i-m-e-z " - from you are busy i am easy
*let us sing songs together with speak & spell
Normal Brain are Fujimoto Yukio
Shimura Satoshi
Torii Ayumi
produced by AGI Yuzuru
VANITY RECORDS 1981
MUTANT SOUNDS :
I guess there were many of you waiting for this one! Excellent minimal electronics/experimental released in 1981 in Japan (VANITY label).
http://mutant-sounds.blogspot.com/2007/02/normal-brain-ready-made-mlp-1981-japan.html
atlantis audio archive:
Normal Brain Frottage Flexi 7" & Ready Made LP @ 45 RPM
Several years ago when I first purchased and listened to the Normal Brain LP, my turntable was still set at 45 rpm after listening to another record. I didn't realize until later that the label lists 33 rpm. For the next few years, I then listened to the LP at 33 rpm, and ripped it at that speed when I posted it here.
Then, some time last year, I finally tracked down a copy of the flexi 7" for their track Frottage. The flexi lists the speed as 45 rpm, which turns out to sound the same as the LP version played at 45 rpm. Upon this realization, I then wondered if the LP was intended for 45 rpm playback all along. Some time has passed, and I finally recorded the LP at 45 rpm.
Given that the LP had conflicting track names and variations of the album title, perhaps the speed was listed incorrect as well - intentionally or not. The flexi version, and the LP version turn out to be the same length, but I haven't done a note for note comparison to see if they are 100% identical.
I'm now leaning toward the LP being 45. I'm curious what you think.
These were converted @ 320K as well.
The flexi was originally included with an issue of Rock magazine.
http://atlantisaudioarchive.blogspot.com/2008/12/normal-brain-frottage-flexi-7-ready.html
atlantis audio archive:
Mutant Sounds has this posted as well, but it looks like it is missing side B. Here is the full LP, a vinyl rip @ 256K, which also includes extra pictures.
Looking at the insert creates more questions than answers. To start, the title is referenced as 'Ready Made', Lady Maid' and 'Lady Made', although not 'Ready Maid'.
The track titles also differ between the insert and the label for a few tracks. One title, 'Tomorrow Never Knows' (Beatles cover) is only listed on the insert. Perhaps a joke, or possibly a legal issue arose after the insert was printed and before the vinyl was pressed. In addition to this inconsistency, 'Thrift' is titled 'KE-300' on the label and 'Mist' is titled 'Fragment' on the label. The track 'Frottage SW', listed on the label does not appear on the insert, unless this is actually the Beatles cover.
At the bottom of the insert is the phrase: Let us sing songs together with Speak & Spell
From the magazine, Music:
'Normal Brain was a project of Yukio Fujimoto, using electronic gadgets like analog-synth, rhythm machine, and Speak & Spell. His music was intelligent and witty, traversing the fine line between modern art and pop. Fujimoto's minimalist approach also had a child-like playfulness and elegance, conceptually paralleling the music of early-Kraftwerk or Eno. Currently, Fujimoto is active as sound artist, producing sound objects and installations.'
Here is a description of a recent sound installation by Yukio Fujimoto (from the Venice Biennale 2001):
'If Belgium's pavilion feels like a picture gallery, Japan's suggests a miniature alternative space, crammed with a thematic show that scores only some of the time but is winningly earnest. "Fast and Slow" looks at the signs and costs of material progress. With the support of the McDonald's Corporation, Masato Nakamura has erected a ring of trademark golden arches, a warmly glowing circle that feels like a light-therapy chamber. Nearby are Naoya Hatakeyama's photographic murals on the changing physiognomies of Osaka and Tokyo. Ambient electronic sound is furnished by Yukio Fujimoto's electronic keyboards strapped to the walls. A smaller downstairs space treats the "slow" principle: Hatakeyama's shots of Tokyo's vaulted sewers, whose eerie grandeur recall Nadar's early photographs beneath Paris, and Fujimoto's Sugar, a little glass drum whose ceaseless rotations gradually reduce a sugar cube to powder.'
Fujimoto also contributes synths/electronics to the Morio Agata LP on Vanity.
http://atlantisaudioarchive.blogspot.com/2007/03/normal-brain-ready-made-lp-vanity-0009.html
R.N.A. ORGANISM / R.N.A.O. MEETS P.O.P.O. (VANITY 0006 )
R-side:
Weimar 22
Howareyou・Whyou
After
Brain To Maught
Nativity
Yes, Every Africa Must Be Free Eternally
N-side:
Say It Loud I'm dilettsnte I ' m Proud
Matrix
all designed by R.N.A.O.
R.N.A.O. is 0123
Chance
Zero
thanks to Dudu *inorganic People
special thanx to Friend Jean-Jacques
produced by AGI Yuzuru
VANITY RECORDS 1980
SICKNESS ABOUNDS:
Quirky Japanese electronic band that would fit nicely inbetween Renaldo & The Loaf, and The Residents. There's not much 'room' between those two, so you should be able to understand where these guys are coming from, musically speaking.
This LP release was made from a cassette tape that Kaoru Sato (vocalist) sent to Vanity Records before forming EP-4.
http://sickness-abounds.blogspot.com/2008/11/rna-organism-rnao-meets-popo.html
R.N.A.O.:
戦略家、佐藤薫がEP-4結成以前にVanity Recordsに航空便で贈ったカセット。
The cassette tape that Kaoru Sato, an strategist, sent to Vanity Records via air mail before forming EP-4.
＜ＴＳさんからの情報＞ＥＰ－４はテクノポップ・バンドではありません。貴ＨＰで言う所のコンセプチュアルな部分は当てはまっています が、音は重たいファンクです。（残念ながら正統的に継承しているバンドはありません）
彼らを語る中で最も注目すべきことは、１９８３・５・２１事件です。 「5.21 EP-4」のシール（名刺サイズ）が（東京では）原宿、渋谷と電信柱から看板、建物の壁、もちろん公衆電話ボックスと至る所に 貼り巡らされたのです。（シールはちょっとした社会現象にもなりました。）そして当日、12:00大阪、18:00名古屋、そして深 夜1:00（当初0:00の予定が延びた）と、早朝4:30東京で時間差ギグを行いました。東京では、深夜敢行ギグにもかかわらず、大 勢のおしゃれでスノッブな人たちが渋谷に集まりました。この日は、同時にＬＰ（マルチレーベル・ホラーキー：インディーズ、 昭和崩御：メジャー）を発売する日でもありましたが、「昭和崩御」のタイトルがレコ倫に触れ、発売中止となり、マルチレー ベルホラーキーのみ発売になりました。「昭和崩御」は、後に「昭和大赦」と名づけ日本コロンビアから発売されました。た だ、「昭和崩御」のタイトルとジャケット写真をどうしても世に発表したいため、2曲再レコーディングし、ＬＰサイズの薄い小 雑誌とともに「本」の扱いで、ペヨトル工房から発行されました。インディーズでは絶大なる人気を博していましたが、個人活動（特にBANANA）が多くなり、自然消滅しました。佐藤薫氏は、ペヨトル工房とも縁が深く、夜想/ＥＯＳのバックナンバーからわかるように、活字メディアにも随分注 力していました。また、藤原新也氏とも関係があり、上記「昭和大赦/昭和崩御」のジャケ写は藤原氏によるものです。
http://park10.wakwak.com/~techno/ep4.html
SYMPATHY NERVOUS / SYMPATHY NERVOUS ( VANITY 0007 )
A: 1. A Worm
2. Go On And Off
3. Temperament
4. Deaf Picture
B: 1. Automatic Type
2. Quick Starttype
3. Inverted Type
4. Sympathetic Nerves
Synpathy Nervous
Yoshihumi Niinuma - UCG system with Korg synthesizers, voice
Tatsuya Senzaki - some noises by his guitar, voice
recorded and mixed at Niinuma's Private Studio
cover photo by Achim Duchow
produced by AGI Yuzuru
VANITY RECORD 1980
SYMPATHY NERVOUS / POLAROID ( VA-S 1 )
1. Polaroid
2. Polyester 35 Micron
3. d-b-TV
system & sonic design by Niinuma Yoshibumi
Sympathy Nervous
produced by AGI Yuzuru
VANITY RECORDS 1980
MAD TEA - PARTY / HIDE AND SEEK ( VA-S 2 )
1. Hide and Seek
2. Modern Time's Pop
3. In a Tea-Bag
composed and performed by M.T.P.
engineered and all tapes operation - Tchimay ( Bushman 19 )
cover photo - Takayuki Shiraishi
recorded at Theory Studio
remixed at YLEM Studio '80 Spring
contact - YLEM 03 460 8469
executive produced by AGI Yuzuru
VANITY RECORDS 1980
PERFECT MOTHER / YOULL NO SO WIT ( VA-S 3 )
1. Dark-Disco-Da-Da-Da-Da-Run
2. Youll No So Wit
3. Ephemeral Pieces
water muzzy
tecno-end
fan
Gancan - g,b,per., vo
Summition - synthesized-vo, randam-D-tuning -g, per
Nono - tape, effect
Atsko - vo
composed by Perfect Mother
cover photo - Takayuki Shiraishi
thanks to Tchimay ( Bushman 19 )
all electronics & engineer
home recording by Sound Cookee 144
teac-30-4
at YLEM Studio
executive produced by AGI Yuzuru
VANITY RECORDS 1980
BGM / BACKGROUND MUSIC ( VANITY 0008)
A: 1. Mix
2. Neo Dancer
3. Repeat
4. And
B: 5. Member Ship Card
6. In Put
7. Abstract
8. Romantic Romance
9. Recovery Room
BGM is
Shiraishi Takayuki - g. v. sy
Kawashima Harunobu - b.g.
Hashimoto Syuichi - sy.
Ebisawa Kenichi - d
recorded and mixed at Studio Soudcreation
on July 1980
engineered by Oku Naoki
produced by AGI Yuzuru
VANITY RECORDS 1980
****
四方 宏明のPOP ACADEMY
Vanity Recordsは、テクノポップという言葉の命名者と言われる、「ロックマガジン」編集長の阿木譲氏のレーベルです。78年の春に設立され、日本で最初のマイナー・レーベルとされています。79年のロックマガジンの増刊号の「MODERN MUSIC」にてVanity Recordsの今後の活動方針として以下の記述がありました。『①エレクトロニクス・ミュージック、②゛家具としての音楽゛シリーズ（現代音楽）、③歌謡曲業界への進出、④実験的な新しいヴィジョンを持つ音楽（パンク、ニューウェイヴ、フリーミュージック、現代音楽等）を追求し、レコード製作していきます。』③は意外であるが、阿木氏が昔歌謡曲界にも居た（67年に「高原の慕情」でデビューし、68年に同名映画主題歌の「俺には天使の君だった」がヒット）ことを考えると、納得がいきます。残念ながら、実現に至ることはなかったが、Vainity Recordsからテクノ歌謡（勝手な僕の想像）でデビューする歌手なんて、考えるだけでワクワクします。雑誌「QUICK JAPAN」33号の日本ロック雑誌クロニクル特集として、篠原章氏（文）と東瀬戸悟氏（ディスコグラフィー解説）により「関西発、伝説のカルト雑誌『ロックマガジン』と阿木譲」というタイトルで掲載されています。一部、参考文献として使わせていただきました。
http://park10.wakwak.com/~techno/vanity.html
Vanity Records is a lable owned by Mr. Yuzuru Agi, a chief editor of "Rock Magazine" who was considered to be a person who named Techno Pop. It was founded in Spring '78 and it's positioned as the first Japanese minor label. "MODERN MUSIC", an extra editionn of Rock Magazine in '79 had the following as the operating priniciples of Vanity Records in future. "We will produce records pursuing 1). Electronics Music, 2). "Music as Furniture" series (Modernistic Music), 3). Invation to Kayo-kyoku, 4). Music with experimental new vision (Punk., New Wave, Free Music, Modernistic Music, etc.)." The point #3 may be surprising, but it makes sense considering that Mr. Agi used to be in the world of Kayo-kyoku (he debuted with "Kougen No Bojou" in '67, and had the hit movie theme song "Ore Niwa Tenshi No Kimi Datta"). Unfortunately, it has never been realized, but it's so exciting to just think about the singer who debuts with Techno Kayo (just my imagination) on Vanity Records. In the magazine "QUICK JAPAN" vol. 33, "Rock Magazine, a cult magazine from Kansai, & Yuzuru Agi" as a part of Japanese Rock Magazine Chronicle was written by Mr. Akira Shinohara (text) and Mr. Satoru Higashiseto (discography). It was partially used as reference.
Aunt Sally: Phewは78年アーント・サリーを結成した。ロック・マガジン編集長の阿木譲氏のVanity Recordsからデビューし、関西ノーウェイヴ・シーンで注目を集める。80年には坂本龍一プロデュースによりソロでシングル『終曲（フィナーレ）』を発表し81年にはドイツのコニー・プランク・スタジオで製作したアルバム『Phew』を発表する。
BGM: ミニマルな実験系テクノポップ。当時は高校生バンドだった。中心メンバーの白石隆之は、90年代にプラネタロイド名義でテクノ・シーンに復帰。
P-Modelと至福団の小西健司氏が在籍した4-D（アーバンダンスの元）の前身となるバンド。『浄』は阿木譲氏のVanity Recordsの記念すべき第一号のリリースでもある。
Normal Brain: コンピューター声のテクノポップ（？）。
pefect Mother: ダーク・シンセポップ＋少しパンク。
Sympathy Nervous: リズミックなダーク・シンセポップ。
Tolerance ECMのような素晴らしいアートワークに包まれた後者にはちょっと前にここで名前があがっていた 角谷の「ボクはズルいロボット」のへっぽこカバー入り。Vanity Recordsから2枚のアルバムをリリースした唯一のユニット。80年前後としては、先取りしていたアンビエント・テクノとも言える作品。
http://park10.wakwak.com/~techno/
AUNT SALLY / AUNT SALLY ( VANITY 0003 )
A: 1. アーント・サリー
2. かがみ
3. 醒めた火事場で
4. 日が朽ちて
5. すべて売り物
B: 1. Essey
2. i was chosen
3. 転機
4. フランクに
5. 夢遊の少年
6. ローレライ
all wards by Phew
personel
Phew - vocals
Bikke - guitar, vocals
Mayu - keyboards
Y. Nakaoka - bass
T. Maruyama - drums
recorded & mixed at Studio Sound Creation Osaka February -March 1979
engineered by Naoki Oku
assistant engineered by Toshiteru Mimura
cover art & photo by Masayoshi Sukita
produced by AGI Yuzuru
VANITY RECORDS 1979
あがた森魚 / 乗物図鑑 ( VANITY 0005 )
A: １. 恋のラジオ・シティ
2. ブリキ・ロックンロール
3. サブマリン
4. エアプレイン
B: 1. コックテイル・マシーン
2. 黄昏ワルツ
3. Rの解答
4. 連続香水瓶
Agata Morio - vocals, compose, piano
Sab - synthesizer, strings, vocorder,
clabinet, lead guitar, bass guitar, guitar synthesizer, bass synthesizer, rhythm box, echo, flanger, electronics & arrangement
Fujimoto Yukio - electronics, special synthesizer programming, effect synthesizer
special thanks to:
Phew + Idiot Girls - chorus
Mukai Chie - ko kyu
Yasuda Takashi - drums
Taiqui - synthesized drums
Punk Boys: Jun Shinoda & Kitada - side guitar
Roland Corporation Osaka
recorded at Studio Sounds Creation on November 1979
engineered by Oku
produced by AGI Yuzuru
VANITY RECORDS 1979
******
SAB / CRYSTALLIZATION ( VANITY 0002 )
A: 1. Yume no Ishi
2. Marble
B: 3. Menou
4. Agate
personnel:
Sab - Sh-3A strings, SQ-10 ms-20, acoustic piano, e guitar, echo machine, equlizer, flaging machine, plase slfter, flying pan, distorton, comptesar, noise
gate, line river
Meg - strings ( A1 ) with flying pan, SQ-10 MS-10 ( B4 again ) , echo machine, flying pan, equilizer
Ravi - sitar ( B4 ) , some flute (B4 )
recorded at Studio Sounds Creation
Osaka July, 1978
engineered by Oku
cover illustration and aret: Marino Lounie
produced by AGI Yuzuru
VANITY RECORDS 1978
DADA / JYO 浄 ( VANITY 0001 )
A: 1. Yuuen - Inraku- Gaki 遊宴 妊楽 餓鬼
2. Udonbara 鬱雲鉢
B: 3. Rokujinzuu 六神通
4. Seijyo no Chi, Mizu 清浄の池 水
personnel:
Mutsuhiko Izumi - guitar, korg synthesizer
Kenji Konishi - piano, korg synthesizer
special thanks to Hiroshi Natori (
percussive synth 1 )
Yasuhiko Horiuchi ( water 4 ) , Jiro Yamada
recorded at Studio Sounds Creation Osaka 19th, April , 1978
engineered by Oku
produced by AGI Yuzuru
*this recirds was inspired by " Gaki Zoshi " 餓鬼草紙
and dedicated to Eno
VANITY RECORDS 1978
*******
今回は削除したが、雑誌 " rock magazine " の付録として以下のソノシート ( Flexi ) をリリースしています。
Vanity 2001: 1979 Flexi The Magnetic Fields of The Earth - Max V. Mathews " rock magazine " 付録
Vanity 2002: 1979 Flexi The Voice of Brian Eno - Brian Eno " rock magazine " 付録
Vanity 2003: 1980.03 Flexi 恋のラジオシティ - あがた森魚 " rock magazine " 30号付録
Vanity 2004: 1980.05 Flexi Frottage - Normal Brain " rock magazine "31号付録
Vanity 2005: 1980.07 Flexi Today’s Thrill - Tolerance " rock magazine " 32号付録
Vanity 2006: 1980.09 Flexi HOVLAKIN - ほぶらきん " rock magazine " 33号付録
Vanity 8101: 1981 Flexi Phone Tisch Poesie - Kurt Schwitters " rock magazine " 付録
Vanity 8102: 1981.03 Flexi Love Song - System " rock magazine " 36号付録
Vanity 8103: 1981.05 Flexi Cross, Grow, Prayer - B. C. Gilbert & G. Lewis " rock magazine " 37号付録
Vanity 8104: 1981.09 Flexi June 6, ‘81, Krefeld - Die Krupps " rock magazine " 39号付録
Vanity 8105: 981.11 Flexi June 3, ‘81, The Venue, London - Furious Pig " rock magazine " 40号付録
Vanity 8106: 1982.01 Flexi Guitar Solo - Holger Czukay " rock magazine " 41号付録
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